Sage

22 hours ago, Jonesy Jones said:

Was there an official update that addressed highlight roll off? I hadn’t seen that. I’ve been waiting all this time for @Sage to help me with that. ?

Almost there

3 hours ago, Mike Mgee said:

@Sage Would the bmpcc4k profile be coming out before the GH5S one?

Yes, the S will follow shortly after the P4K

On 6/14/2019 at 7:08 PM, mirekti said:

@Sage Any updates on GH5S profile?

Working towards it, day by day. The exciting news this week is that I wrote the engine to be multi threaded on Thursday. Now a refinement pass takes a quarter of the time, which is a substantial savings when doing many successively. It will scale linearly to the Amd 12 core coming out next month. When the website changes in a very noticeable way, in about a month or so, it will mean the S is imminent.

5 hours ago, Adam Kuźniar said:

Here's my recent video for a local culture organisation. The whole idea behind the event was to set up in 4 places in Wrocław at the same time and engage local communites in playing and singing songs. 

Shot on G80 in CineD, graded with CineD to VLOG PRE and GHa Daylight (Linear). Minimal adjustments done after. 

I absolutely love the results!

Nice work, that looks like a really cool spot and event!

By the way, for those using Linear, I am recommending a blanket desaturation to 90% following the conversion, until the next update is released

I'd like to recommend this channel, which I find to be a lot of fun, and particularly this video which is quite relevant today:

I am planning to build a Pc this year with the upcoming Amd 7nm 12 core, and the forthcoming RTX 2070 Ti (my current build is quite old). It should, according to Puget Systems data, be a sweet spot for performing near the top of the charts in Resolve, without ballooning in price.

12 hours ago, JeremyDulac said:

I have been using GHa on my P4k until Alex has the new lut ready. Thought i'd share a few tests - I feel like it is working quite well, and handles over-saturated reds and blues pretty nicely. Looking forward to the official lut

Those look pretty amazing as is. I finished the first tungsten conversion today (mostly). Still have some refinement to do. Here is an idea of it, a sample slice from both cams:

On 5/14/2019 at 6:54 PM, mercer said:

With the FCPX issue, could a workaround involve using Resolve as a color corrector (LUT utility) and then transcoding the “LogC” files to ProRes for an FCPX import? 

That is a possibility; though it is likely a minor distortion if Premiere 10 bit is any indication, not unlike a slight WB shift (though shifting with grayscale). One interim approach might be to note the required WB shift on the green/magenta axis to compensate, and apply this in advance of the conversion. In any case, there will be a Pre soon methinks.

1 hour ago, mirekti said:

I see your Input Color Space is set to Rec.709. Is this for CineD or you use it for vlog-l too?
My impression was that input color space should match what the original footage was recorded with.

BTW Any updates on GH5S profile?

 

Thanks and cheers!!

Yes, to Rec709 Gamma 2.4 (or simply Davinci YRGB for Color science). The project-level color management settings come into play when you want to conform all footage from one color space to another (with EC, the conversion does the conform). The S will come shortly after the P4K (next up)

5 hours ago, deezid said:

looks good.
Already received your Pocket 4K?
Figured out quite a lot dealing with these nasty red and blue highlights...

Yes, that's the one above. Fortunately, the gamut situation won't be as tricky as I thought, as before I was playing with the Ursa footage, which rises above 1.0 floating. That case will require a special Lut command to avoid red clipping in 709

Roman Alaivi did a side by side test yesterday with his Alexa C; he'll be shooting a film in FL next week with both, using the GH5 as the gimbal camera

I haven't tested XQD; they are Sony, so there is a possibility there. There must be some kind of device ID check, the Sandisks should have been a lot faster than the SxS

On 5/9/2019 at 12:28 AM, creativecell said:

Hi everyone! Im new here! Your LUT is absolutely amazing Alex and I finally get my footage to look the way I want!! But I noticed one problem...when I just load the LUT in Davinci Resolve and in Final Cut Pro X on the exact same clip without any further editing it seems that the Final Cut version seems to have a color cast (slightly magenta). In Resolve it looks great, but in Final Cut it would need extra tweaking to get the colors right. Anyone else noticed this problem or potentially knows a solution?

Thank you good sir! Yes, that is a problem; Resolve is the reference (Premiere also had a similar issue, requiring a Pre). I will look into this.

On 5/9/2019 at 2:11 PM, Samurai said:

Hi Sage,

I would like to ask, in which profile I should record to easily use your LUTs in 8bit/10bit 150mbps by using Sandisk Extreme PRO 256GB V30? Cine D? REC 709? HLG?

Hey there, I saw your email. Cine-D is the one that fits the 8/10 bill.  I'd recommend any other codec than the 150 4K

On 5/9/2019 at 2:56 PM, majoraxis said:

@Sage I'm ready to purchase your Alex lut tuned for the Blackmage Pocket 4k when available. Do you have and ETA for this?

 

Thanks!

Working on it as we speak (summer methinks)

On 5/8/2019 at 9:08 AM, zerocool22 said:

Did anybody test this out? 

Im looking into buying an alexa, but def not interested in buying a lot o sxs cards. 

Just seeing this now; my work happened to have both a 16gb SxS and an SD SxS adapter for use in the EX1. So a year back, I did test them out, and found it did not work. I had assumed my Sandisk Extremes would be better than the SxS, but the Arri is very picky; everything is very locked down. For example, I wanted to look into Arriraw and thought maybe a Shogun might do. But with the Classic, only the Odyssey 7Q with raw license would do (because of the proprietary T-Link standard)

On 4/29/2019 at 1:20 PM, FreshGiant said:

Sage, I love the LUT (bought both versions). Is there any plans to come out with a full V-LOG version? With the prices of EVA1 coming down and S1 getting full V-LOG in July, I think there will be more interest in a full V-LOG to GHa LUT. 

Thank you! I plan to do that this year, should everything work out.

On 4/29/2019 at 5:44 PM, hypp said:

Saw this at Reddit and thought you might like it. This person used your workflow and lut. 

That was really impressive; I was away this week and hadn't seen it. Excellent WB, exposure, and luminance placement

3 hours ago, gwan said:

GH5 - Cine-D

Well done, great shots throughout.

On 4/15/2019 at 4:53 AM, BjornT said:

I also wanted to ask you Sage what project settings you use when grading GH5 footage in Resolve ? I set it all up to SRGB cause all my work goes on youtube but maybe that is wrong?

You'll be fine there; the in is the same as the out and timeline (no transform). Here are the defaults (or can set to 'DaVinci YRGB', and Rec709 2.4 Timeline):

Here's something I put together in Premiere with 'Soft' and the luma sliders (under color wheels:

2 hours ago, BjornT said:

I have found similar results with GH5 during these conditions. When shooting 4K In vlog this is much more prominent than shooting HLG which is why I dont shoot VLOG anymore. Then again VLOG in 1080P All-I like Sage suggest yield better results with this blocking/banding  issue than it does in 4K ipb 150mb

Indeed, 4K 150mb is problematic (notably more banding in moving spotlight test)

1 hour ago, kobi said:

OK thanks, so I shoot in HLG 4K on the Ninja and than set timeline in DR to work with HLG, I WB and correct at first node than apply HLG to VLOG color space, than using Arri LogC to REC709 and the results are AWESOME!!! (then my previous attempt), looks crispy and clear, after a REC709 I can apply a look to a node and also results are good.

I don't use PR

I will keep experience with this.

Thanks!

You can keep the timeline settings at default in Resolve

On 4/9/2019 at 11:47 AM, katlis said:

Here's a fun one. Using GHAlex on Mavic Air D-Cinelike to match GH5S V-Log. ? These clips were actually shot on different days too. 

Ah very nice

10 hours ago, kobi said:

Hi Sage,

Is your LUT will work with external recorder as the Atomos Ninja V when using with GH5? should working i guess...

What are the best settings for that?

How can I test the LUT's?

Thanks!

As long as the footage is not for use in Premiere at the moment (needs a new ProRes/Dnx pre for fully accurate color). Also, use the 33x variations to preview VLog on  the Ninja

Send me Tiffs (from Resolve), or DPXs with an empty Lumetri applied (in Premiere) 

For those without a GH5, hold off on picking up a GH5 version if you don't have it (if you do, feel free to experiment); I want that the experience be perfect for each camera it is used with.

6 hours ago, dia3olik said:

Hey Sage, are you talking about the OFX plugin inside Resolve? Or another solution? I use EC with my GH5 but I'd love to use it also with my Micro (Pocket V2 sorta)

Yes, there is a cst BMD Film option, and VLog out

21 hours ago, superporpoise said:

That would be cool. Is there a workaround for now to get a general feel of what it would look like (with the current GH5 version? Basically I'm not sure how to go about turning Blackmagic Film into Vlog). I'm sure the P4K is a better video camera than the Fujis, but I also do stills and if I can get 90% to the P4K without having to have 2 sets of lenses/UIs/batteries/etc. I definitely wouldn't mind.

Couple screenshots as well (from Prores Proxy files nonetheless). Color and contrast is off from what I'm seeing in resolve idk why (they are slightly more contrasty, more saturated, a little warmer IRL).

 

Those are really impressive. The last time I looked into the idea of an interim solution for the P4K was for Eugenia Loli (she is the one who got me into cameras in 2008, on HV20.com; EC probably wouldn't exist without her). From what I saw, there was only a transform for the original Pocket; the P4K (cs4) wasn't yet supported. Though - you won't have to wait long for P4K support methinks.

4 hours ago, John Roque said:

Just tried GHa with HLG vs FLOG

That's the exact same artifact as on the GH5. Low saturation and contrast gradient macroblocks that don't know whether they want to be more red or more green. It seems to arise from codec compression + log especially - is it mp4?

3 hours ago, mirekti said:

@Sage Hi there. Are we close to getting GH5S conversion? 

Yes, no later than the summer

21 minutes ago, superporpoise said:

I'm still relatively new to the grading world (and the Resolve world, and video in general), but this Fuji workflow is pretty amazing. Debating returning the Pocket 4K I just picked up because of how great this makes my XH1 and XT3 footage look.

I'm keen to have a native P4K conversion in the relatively near future btw

Nice shot!

7 hours ago, DanielVranic said:

Thanks for the tip. I have found that I am enjoying a 5-node workflow for this.

1. WB Corrections/Balances
2. Flog/FGammut-VLog/VGammut
3. Adjustment node, using the LGG wheels, (i do not know how to due a hue-locked curve, will look into it)
4. GHa/GHa Linear (depending on which look i am feeling)
5. Saturation/Balance adjust

That workflow has worked excellent for me so far! I need to look into those hue-locked curves though!

That checks out; the hue locked curve is detailed in the Resolve section ('hue' layer mixer), and the 'Advanced' section of Premiere

They're very similar. That's the concept behind GHa; convert VLog to LogC, and follow that with Arri's 709 primaries. Cst uses the manufacturer's published specs for the gamut and gamma allotment of color spaces, and then does a transform between them. GHa is measured through the lens, and uses the EC component to apply the 709 primaries (for the EC variations)

On 4/3/2019 at 3:39 PM, DanielVranic said:

ah shit, well I should probably have read those! 

So far I love it, i built the FLog-VLog LUT in LUTCalc and for about 80% of shots it works perfectly. But in shots where there is a huge gap from high to low its blows out the highs and crushes the lows. Whereas if I did a manual grade with curves it would be still OK. I totally understand it was never made for the XT3, but just trying to find a way to avoid that for now.

Apply a hue-locked curve ahead of the conversion, to adjust the black and white points (with the conversion already applied). This will allow access to the entirety of the range

6 hours ago, DanielVranic said:

Hey Sage, I have a question. To make the best use of the LUT, do you prefer footage be overexposed and brought down? 

Overexposed slightly, so to speak (skintone at ~50-55 IRE for VLog). The goal is moderate exposure, rather than setting it just below clipping (or too low). When cinema luminance is placed in post, you should generally find that the image needs to get darker. Be sure to download and review the supplemental waveforms, page 3 of the Pdf, and the waveform guide; this is most helpful in getting a feel for where everything should place at the end.